Opera, Opera Excerpts, Marais, M (composer)
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Special offer. BBC Legends Volume 1
Joyce Barker (Magna Peccatrix), Beryl Hatt (Mater Gloriosa), Agnes Giebel (Una Poenitentium), Kerstin Meyer (Mulier Samaritana), Helen Watts (Maria Aegyptiaca), Kenneth Neate (Doctor Marianus), Alfred Orda (Pater Ecstaticus), Arnold van Mill (Pater Profundus), Emil Gilels (piano), Zinka Milanov (soprano),...
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A piacere
Music for viola da gamba
Fahmi Alqhai (viola da gamba), Arcángel (voice), Pablo Martín (Caminero, violone & double bass), Pedro Estevan, Agustín Diassera (percussion), Juan Carlos Rivera (theorbo), Rami Alqhai (viola da gamba, violotto), Johanna Rose, Ignacio del Valle (violas da gamba)
Les pleurs, the baseline of gamba repertoire, is as accomplished a performance as you could expect, confirming Alqhai as a master of the instrument; but inasmuch as the gamba was never truly... —
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this is doubtless a good-value way to explore the ensemble’s work and some otherwise unavailable though interesting repertoire —
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Best of French Baroque
Ann Monoyios (soprano), Michele DeBoer (soprano), Colin Ainsworth (tenor), Robert Kinar (tenor), Andrew Mahon (baritone)
Tafelmusik Baroque Orchestra, Tafelmusik Chamber Choir, Jeanne Lamon, Ivars Taurins
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The Sultan and the Phoenix
French viol music by members of the Couperin family and their contemporaries
Charivari Agréable
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L'Opéra des Opéras
Katherine Watson (soprano), Karine Deshayes (mezzo), Reinoud van Mechelen (tenor)
Le Concert Spirituel, Hervé Niquet
If the story is thin, the music stylishly performed by Le Concert Spirituel is often magnificent…If the orchestra, particularly the principal flautist and trumpeter, rather overshadow the soloists,... —
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Klassik - Zen
Hille Perl (viola da gamba), Lee Santana (lute), Caitriona O'Leary (soprano), Robert Mealy (fiddle), Jay Elfenbein (viola), Christopher Layer (flute), Mel Mercier (percussion), Regensburger Domspatzen, Georg Ratzinger (chorus master), Mediaeval Baebes, Rachel Van Asch (vocal), Dorothy Carter (dulcimer),...
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At the time [ie in 1973], many music-lovers were shocked by Harnoncourt’s unvarnished timbres, de-romanticised articulation and unorthodox speeds. Forty years on, Harnoncourt’s sharply etched... —
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